Examples Of Archetypes In Antigone

The ancient play, Antigone, connects to Carl Jung’s interpretations of myths as a reflection of the collective unconsciousness and archetypes by using the underlying theme of fearing the gods and the actions of the characters. According to the textbook, Classical Mythology, archetypes are ingrained behaviors that characters will present during the novel, play, or movie, and the characters in Antigone are a clear example of animus and shadow (Morford 9). It also defines a collective unconsciousness as “a revelation of the continuing psychic tendencies of society,” in other words, the same thought processes occurring in different individuals throughout a society (Ibid). The collective unconsciousness in Antigone is clear: fear the gods. It

For example, Antigone displays the animus archetype, and Creon displays the shadow archetype. The animus archetype relates to the “male that a woman instinctively harbors within her (Morford 10).” While the shadow archetype is a representative of the darker side of people (Trusty). Antigone’s animus archetype is most prevalent at the beginning of the play when she decides to bury her brother. During this time, she stands up to her sister, Ismene, to justify her plan of action (Sophocles, Antigone lines 81-92). Her archetype can also be detected when she speaks of death as though it is an honor (Sophocles, Antigone lines 86, 512), this mention of a heroic death is typically spoken by men. She also shows no fear in her moments before death. This is inferred by her suicide, as she takes her life instead of sitting in the cavern wallowing in pity (Sophocles, Antigone lines 1346-1348). Her fearlessness when faced by death is seen in men on the battlefield. On the opposing side, Creon is the shadow archetype because of his darker actions throughout the play. He openly defies the gods wishes for all people to be buried and becomes mad with the power of a king (Sophocles, Antigone lines 528-554). He shows his “good side” only after he is punished by the gods. At the end of the play, Creon asserts himself by declaring that he regrets his actions as king and pities himself for

“Approaches to Mythology.” Classical Mythology. 22 Jan. 2018, Iowa City, Iowa.

Morford, Mark P. O., et al. “Interpretation and Definition of Classical Mythology.” Classical Mythology, Tenth ed., Oxford University Press, 2014, pp. 3-39.

Sophocles. Antigone. Translated by R. Fagles. 1984. New York: Penguin Classics.

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